By the end of John Cecil Stephenson's art school training - first a scholarship to Leeds Art School then to The Royal College of Art - he was in a position to produce still lives, landscapes and portraits in a professional capacity. Like many painters of his generation, who had received similarly conventional instruction, he became a competent teacher, appointed in 1922, as Head of Art at The Northern Polytechnic. In this mould Stephenson might have remained a largely undistinguished painter - but in the early 1930s he found himself at the centre of a group of artists with avant-garde credentials, and his own art underwent a remarkable transformation. By 1934 he was exhibiting groundbreaking works such as Mask (CAT. 7), at the 7 & 5 Society, and in 1937 was a key contributor to the watershed publication and exhibition Circle, where his work was showcased alongside that of luminaries such as Kazimir Malevich, Le Corbusier, Fernand Leger, Alberto Giacometti and Pablo Picasso. What led Stephenson to become, in the words of the celebrated art critic Herbert Read, 'one of the earliest artists in the country to develop a completely abstract style'? Between March 1919 and November 1965, John Cecil Stephenson lived in London at No. 6 Mall Studios, off Tasker Road, Hampstead. As the father figure of what Read christened 'a nest of gentle artists', his next door neighbours included, during the course of the decade leading up to World War II, Barbara Hepworth, John Skeaping, Ben Nicholson and Henry Moore. Such fertile ground was further enriched by visits from artists fleeing persecution - including Piet, Laszlo Moholy-Nagy and Alexander Calder - just a few of the many internationally acclaimed artists who, whilst passing through London, formed part of the art set who congregated around Read's house at No. 3 Mall Studios.

Art Deco by the Sea is a major new book and exhibition examining British coastal culture between the First and Second World Wars. Beautifully illustrated, the book will trace how the British seaside changed during a new age of mass tourism. It will examine how coastal resorts developed and how the networks of transport that serviced them - by road, rail and sea - were modernised. The book will celebrate iconic examples of Art Deco architecture, from hotels and apartment blocks to piers, cinemas and sea fronts and will show how Art Deco became the key style for pleasure and entertainment. It will also feature seaside companies including Poole Pottery, E.K. Cole Ltd and Crysede known for their striking modern designs. The book will also explore how the seaside changed during the 1920s and 30s with the advent of the heathy body culture, when sunbathing, swimming and a host of other outdoor activities became fashionable. The development of amenities such as lidos and golf courses changed the look of seaside resorts while holiday camps such as Butlin's provided new types of holiday experience. The book will feature Deco fashions and the more ephemeral and popular culture of the seaside from theatre performances, circuses, fairgrounds, casinos and fun fairs.

An absorbing group biography revealing how exiles from war-torn France brought Surrealism to America, helping to shift the centre of the art world from Paris to New York and spark the movement that became Abstract Expressionism. In 1957 the American artist Robert Motherwell made an unexpected claim: ‘I have only known two painting milieus well … the Parisian Surrealists, with whom I began painting seriously in New York in 1940, and the native movement that has come to be known as “abstract expressionism�, but which genetically would have been more properly called “abstract surrealism�.’ Motherwell’s bold assertion, that Abstract Expressionism was neither new nor local, but born of a brief liaison between America and France, verged on the controversial. Surrealists in New York tells the story of this ‘liaison’ and the European exiles who bought Surrealism with them – an artistic exchange between the Old World and the New – centring on taciturn printmaker Stanley William Hayter and the legendary Atelier 17 print studio he founded. Here artists’ experiments literally pushed the boundaries of modern art. It was in Hayter’s studio that Jackson Pollock found the balance of freedom and control that would culminate in his distinctive drip paintings. The impact of Max Ernst, André Masson, Louise Bourgeois and other noted émigrés on the work of Motherwell, Pollock, Mark Rothko and the American avant-garde has for too long been quietly written out of art history. Drawing on first-hand documents, interviews and archive materials, Charles Darwent brings to life the events and personalities from this crucial encounter. In so doing, he reveals a fascinating new perspective on the history of the art of the twentieth century.

Groundbreaking in both its content and its presentation, Art Since 1900 has been hailed as a landmark study in the history of art. Conceived by some of the most influential art historians of our time, this extraordinary book has now been revised, expanded and brought right up to date to include the latest developments in the study and practice of art. With a clear year-by-year structure, the authors present 130 articles, each focusing on a crucial event - such as the creation of a seminal work, the publication of an important text, or the opening of a major exhibition - to tell the myriad stories of art from 1900 to the present. All the key turning-points and breakthroughs of modernism and postmodernism are explored in depth, as are the frequent antimodernist reactions that proposed alternative visions. This expanded edition includes a new introduction on the impact of globalization, as well as essays on the development of Synthetic Cubism, early avant-garde film, Brazilian modernism, postmodern architecture, Moscow conceptualism, queer art, South African photography, and the rise of the new museum of art. Acclaimed as the definitive work on the subject, Art Since 1900 is essential reading for anyone seeking to understand the complexities of art in the modern age.

Through the 1880s the very essence of representation, meaning and process in Western art were profoundly interrogated. Plausible representations of the external world were cast aside in favour of non-naturalism expressed in varying degrees, from modest distortions of reality to pure abstraction. The decades that followed, up to the outbreak of the First World War in 1914, were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation. Concentrating on this period of great upheaval, this book will explore the constructive dialogue between painting and sculpture, and the influential roles played by three giants of the era, Paul Cézanne, Paul Gauguin and Vincent van Gogh, across European art as a whole. While acknowledging the centrality of Paris as a cultural capital, it will also uniquely highlight other centres of artistic ferment in Europe, from Brussels and Barcelona to Berlin and Vienna, and track the variety of routes into modernism in the early twentieth century. This fully illustrated catalogue will contain four essays, introductions to each city of ferment and biographies of the artists. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London 25 March–13 August 2023

Did you know Vincent van Gogh sold only one painting during his lifetime and that during the last three months of his life he completed an average of one painting every day? Did you know that Michelangelo's David is covered in a dusting of human skin? Did you know Caravaggio murdered several people while he was painting some of the most glorious paintings of biblical scenes the world has ever known? Rembrandt Is in the Wind by Russ Ramsey is an invitation to discover some of the world's most celebrated artists and works, while presenting the gospel of Christ in a way that speaks to the struggles and longings common to the human experience. The book is part art history, part biblical study, part philosophy, and part analysis of the human experience; but it's all story. The lives of the artists in this book illustrate the struggle of living in this world and point to the beauty of the redemption available to us in Christ. Each story is different. Some conclude with resounding triumph while others end in struggle. But all of them raise important questions about humanity's hunger and capacity for glory, and all of them teach us to love and see beauty.

This book presents over twenty authors' reflections on 'curating care' - and presents a call to give curatorial attention to the primacy of care for all life, and for more 'caring curating' that responds to the social, ecological and political analysis of curatorial caregiving. Social and ecological struggles for a different planetary culture based on care and respect for the dignity of life is reflected in contemporary curatorial practices that explore human and nonhuman interdependence. The prevalence of themes of care in curating is a response to a dual crisis: the crisis of social and ecological care that characterizes global politics, and the professional crisis of curating under the pressures of the increasingly commercialized cultural landscape. Foregrounding that all beings depend on each other for life and survival, this book collects theoretical essays, methodological challenges and case studies from curators working in different global geographies to explore the range of ways in which curatorial labour is rendered as care. Practicing curators, activists and theorists situate curatorial labour in the context of today's general care crisis. This volume answers to the call to more fully understand how their transformative work allows for imagining the future of bodily, social, and environmental care and the ethics of interdependency differently.

With more than 280 entries, this architectural A-Z, now part of our Bibliotheca Universalis series, offers an indispensable overview of the key players in the creation of modern space. From the period spanning the 19th to the 21st century, pioneering architects are featured with a portrait, concise biography, as well as a description of her or his important work. Like a bespoke global architecture tour, you'll travel from Manhattan skyscrapers to a Japanese concert hall, from Gaudi's Palau Guell in Barcelona to Lina Bo Bardi's sports and leisure center in a former factory site in Sao Paulo. You'll take in Gio Ponti's colored geometries, Zaha Hadid's free-flowing futurism, the luminous interiors of SANAA, and Charles Rennie Mackintosh's unique blend of Scottish tradition and elegant japonisme. The book's A to Z entries also cover groups, movements, and styles to position these leading individual architects within broader building trends across time and geography, including International Style, Bauhaus, De Stijl, and much more. With illustrations including some of the best architectural photography of the modern era, this is a comprehensive resource for any architecture professional, student, or devotee. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

This is an examination of the paintings, books, poetry and theoretical work of Russian avant-garde artist, Olga Rozanova. The text assesses Rozanova's life and work, aiming to recreate the spirit of the counterculture milieu that contributed to the transformation of 20th-century art.

WOW - a collaboration between Liss Llewellyn and the Laing Art Gallery - showcases 38 British women artists working on paper between 1905 and 1975, a transformative period for women in the arts. The featured artists approached the medium in vari ous ways, using traditional as well as innovative techniques to transform paper into beautiful and complex works of art. The exhibition celebrates the diversity of these approaches and highlights the ways in which paper provided artists with a rich arena for artistic innovation. Paper's adaptability allows for a multitude of techniques. Using paper in its traditional role as a support for drawings and prints, or creating collage and sculpture, the fea tured artists responded to the medium's inherent qualities - malleable, smooth and sensuous - to test ideas, express feelings or create a finished work. It is often in the more formative moments that the works in this exhibition most resonate; through these studies we bear witness to the seed of an idea in germination, as in Clare Leigh ton's iconic Southern Harvest, or Evelyn Dunbar's celebrated works for the War Artist's Advisory Committee. Selecting hand-made, mould-made or machine-made papers in various weights, tex tures and tints - depending on their intentions - artists worked with a variety of media from pencil, ink and pastel, to watercolour, tempera and oil, sometimes incorporating extraneous elements such as gold leaf and metallic forms. Working on monumental sheets, such as Winifred Knights' cartoon for St Martin's Altarpiece or tiny pages such as Edith Granger-Taylor's Small Grey Abstract, women's choices were nevertheless some times dictated by circumstance: the propensity of Frances Richards and Tirzah Gar wood - by no means isolated cases - to work on paper on a small scale was in part a result of not having access to a studio. From portraits, landscapes, botanical studies and genre scenes, many of the works in WOW highlight the artist's skill and dexterity in drawing on paper, which was at the core of artistic training and practice. Some artists have used the traditional techniques of etching, screen printing and woodblock to create a diverse range of images. Others highlight the ethereal properties of paper through precise cuts, resulting in elaborate collages combining shapes, patterns and designs, or compact and manipulate paper to create inventive and surprising sculptures. Featuring both famous and lesser-known talents, WOW celebrates the many ways in which women artists expressed themselves through works on, and with paper and highlights their unique contribution to the graphic arts in 20th century Britain.

From Subjection to Survival is a work of feminist scholarship that works at the intersection of literature and art history, the written and the visual. By examining six important and diverse multiethnic American women writers of the twentieth century (Kate Chopin, Anzia Yezierska, Edith Wharton, Zitkala-Sa, Nella Larsen, and Helena Maria Viramontes), From Subjection to Survival establishes a genealogy of how women writers claim the power and possibility of visual art to make sense of their experiences. These writers write about women and feature female protagonists who engage with art as painters, writers, muses, or icons in the texts themselves. The texts are written visually to expose the fundamental substantiation of gender in art and the unavoidable aestheticization of women in daily life. As every text in this book makes clear, women can claim substantial power through art. Yet, aestheticization is not always positive. As a consequence of such negative possibilities, the artistic self-referentiality of all of the texts in From Subjection to Survival exposes a negotiated course between subjectivity and objectness which women experience when engaging with art. From Subjection to Survival studies this negotiated course to lay bare the difficult path of women's artistic and aesthetic experience, but ultimately to claim the power and the possibility of the visual arts for women.

A richly illustrated celebration of the paintings of President Barack Obama and First Lady Michelle Obama From the moment of their unveiling at the National Portrait Gallery in early 2018, the portraits of Barack and Michelle Obama have become two of the most beloved artworks of our time. Kehinde Wiley's portrait of President Obama and Amy Sherald's portrait of the former first lady have inspired unprecedented responses from the public, and attendance at the museum has more than doubled as visitors travel from near and far to view these larger-than-life paintings. After witnessing a woman drop to her knees in prayer before the portrait of Barack Obama, one guard said, "No other painting gets the same kind of reactions. Ever." The Obama Portraits is the first book about the making, meaning, and significance of these remarkable artworks. Richly illustrated with images of the portraits, exclusive pictures of the Obamas with the artists during their sittings, and photos of the historic unveiling ceremony by former White House photographer Pete Souza, this book offers insight into what these paintings can tell us about the history of portraiture and American culture. The volume also features a transcript of the unveiling ceremony, which includes moving remarks by the Obamas and the artists. A reversible dust jacket allows readers to choose which portrait to display on the front cover. An inspiring history of the creation and impact of the Obama portraits, this fascinating book speaks to the power of art-especially portraiture-to bring people together and promote cultural change. Published in association with the Smithsonian's National Portrait Gallery, Washington, DC

Richard Demarco co-founded the Traverse Theatre in Edinburgh in 1963 and ran the vibrant Richard Demarco Gallery in Edinburgh for almost 30 years. He promotes crosscultural dialogues and was the first person to introduce Joseph Beuys in the UK. Joseph Beuys was a German sculptor and creator of action performances, political activist and teacher. This book explores the works, lectures and 'Actions' which resulted from the mutual hopes, inspirations and shared values of Richard Demarco and Joseph Beuys, the innovative and inspirational German postwar artist, from 1970 until Beuys' death in 1986. Demarco, an avant-garde gallerist in Edinburgh, was an early proponent of Scotland taking its place within the European art world; Demarco recognised the visionary quality of Beuys' work and visited him in Oberkassel in January 1970. In the hope of focusing Beuys' attention on Scotland, he presented him with a set of postcards depicting typical Scottish scenes. Beuys responded with, 'I see the land of Macbeth, so when shall we two meet again, in thunder, lightning or in rain?' They reunited in thundery Edinburgh later that year and Demarco led him northwards along the ancient track he calls 'The Road to Meikle Seggie'. This initial experience of the Scottish landscape inspired Beuys, who felt a strong connection with Celtic culture, and laid the foundation for a remarkable artistic friendship which enriched the work of both men. With photos from Demarco's personal collection and essays spanning from 1970 to the present, this is an intimate and intellectually rigorous look at a friendship seminal to the development of art in Scotland over the last 40 years.

As featured in the New York Times, ARTnews, Colossal, Metropolis and New York Magazine's The Strategist A groundbreaking A-Z survey of the work of over 300 modern and contemporary artists born or based in Africa Modern and Contemporary African art is at the forefront of the current curatorial and collector movement in today's art scene. This groundbreaking new book, created in collaboration with a prestigious global advisory board, represents the most substantial appraisal of contemporary artists born or based in Africa available. Features the work of more than 300 artists, including El Anatsui, Marlene Dumas, David Goldblatt, Lubaina Himid, William Kentridge, Julie Mehretu, Wangechi Mutu, and Robin Rhode, as well as lesser-known names from across Africa, with stunning and surprising examples of their art paired with insightful texts that demonstrate their contribution to the painting, sculpture, installation, photography, moving image, and performance art. Advisory Panel: Alayo Akinkugbe, Kavita Chellaram, Raphael Chikukwa, Julie Crooks, Tandazani Dhlakama, Oumy Diaw, Janine Gaelle Dieudji, Ekow Eshun, Ndubuisi C. Ezeluomba, Joseph Gergel, Danda Jaroljmek, Omar Kholeif, Rose Jepkorir Kiptum, Alicia Knock, Nkule Mabaso, Lucy MacGarry, Owen Martin, Aude Christel Mgba, Bongani Mkhonza, Riason Naidoo, Paula Nascimento, Simon Njami, Robert Njathika, Ugochukwu-Smooth C. Nzewi, Chika Okeke-Agulu, Hannah O'Leary, Sean O'Toole, John Owoo, Brenda Schmahmann, Mark Sealy, Yasmeen Siddiqui, and Joseph L. Underwood

Send your best wishes with the beautifully reproduced artwork on these full-colour full size Mark Rothko Notecard Boxes, packaged in a large format 2 piece glossy reusable box. Mark Rothko Notecard Box includes reproductions of 5 bold paintings. Our museum quality Notecard Boxes are perfect to keep on hand for any occasion notes and greetings to friends and family. Our on-trend designs and high print quality make our cards the best value out there. 20 notecards and envelopes 4 each of 5 images Packaged in a large format Glossy 2-piece box Cards printed on coated paper stock to bring out their full colour Cards and envelopes bundled together with a paper belly band inside each box Box measures 190 x 139 x 38 mm

"London" and "Paris" are the first two titles in a unique new series of city guides focusing on modern and contemporary art - a genuine gap in the art and travel market. Never before has the contemporary art scene of each city been so comprehensively researched and presented. The guides follow a sound formula -each opens with an essay on the current contemporary art scene by a local art expert in that city, followed by an introduction which presents the art in the context of the city's history and geography to give the reader a feel for the places they might like to visit. The central portion of the books are a fact-packed,stunning, visual A-Z guide to 100 artists, each featuring a representative piece of that artist's work, with an expert commentary and details of everywhere their art can be seen in the city.The A-Z is cross-referenced throughout to the Directory,a comprehensive listing of public and private galleries, public art, art colleges, art tours and other sites where the art can be seen. These in turn are cross-referenced to the maps - one large map on the inside the front cover and ten close-up maps later in the book. The back inside cover has a transport map, making each guide not just inspirational and informative but also practical. Whether you are planning a weekend break, a longer trip or just want to get to know the contemporary art scene in your own city better this series has something for everyone.

Modern Art in Pakistan examines interaction of space, tradition, and history to analyse artistic production in Pakistan from the 1950s to recent times. It traces the evolution of modernism in Pakistan and frames it in a global context in the aftermath of Partition. A masterful insight into South Asian art, this book will interest researchers, scholars, and students of South Asian art and art history, and Pakistan in particular. Further, it will be useful to those engaged in the fields of Islamic studies, museum studies, and modern South Asian history.

Design History Beyond the Canon subverts hierarchies of taste which have dominated traditional narratives of design history. This book explores a diverse selection of objects, spaces and media, ranging from high design to mass-produced and mass-marketed objects, as well as counter-cultural and sub-cultural material. The authors' research highlights the often marginalized role of gender and racial identity in the production and consumption of design, the politics which underpins design practice and the role of designed objects as pathways of nostalgia and cultural memory. While focused primarily on North American examples from the early 20th century onwards, this collection also features essays examining European and Soviet design history, as well as the influence of Asia and Africa on Western design practice. This book is organised in three thematic sections: 'Consumers', 'Intermediaries' and 'Designers'. The first section analyses a range of designed objects and spaces through the experiences and perspectives of users. The second section considers intermediaries from both technology and cultural industries, as well as the hidden labour within the design process itself. The final section focuses on designers from multiple design disciplines including high fashion, industrial design, interior design, graphic design and design history pedagogy. The essays utilize different research methods and a wide range of theoretical approaches, including feminist theory, critical race theory, spatial theory, material culture studies, science and technology studies and art history. This book brings together the most recent research which stretches beyond the traditional canon and looks to interdisciplinary methodologies to better understand the practice and consumption of design.

An in-depth and nuanced look at the complex relationship between two dynamic fields of study.

While today we are experiencing a revival of world art and the so-called global turn of art history, encounters between art historians and anthropologists remain rare. Even after a century and a half of interactions between these epistemologies, a skeptical distance prevails with respect to the disciplinary other. This volume is a timely exploration of the roots of this complex dialogue, as it emerged worldwide in the colonial and early postcolonial periods, between 1870 and 1970.

Exploring case studies from Australia, Austria, Brazil, France, Germany, and the United States, this volume addresses connections and rejections between art historians and anthropologists—often in the contested arena of “primitive art.” It examines the roles of a range of figures, including the art historian–anthropologist Aby Warburg, the modernist artist Tarsila do Amaral, the curator-impresario Leo Frobenius, and museum directors such as Alfred Barr and René d’Harnoncourt. Entering the current debates on decolonizing the past, this collection of essays prompts reflection on future relations between these two fields.

Visual Propaganda, Exhibitions, and the Spanish Civil War is a history of art during wartime that analyzes images in various media that circulated widely and were encountered daily by Spaniards on city walls, in print, and in exhibitions. Tangible elements of the nation's past"monuments, cultural property, and art-historical icons"were displayed in temporary exhibitions and museums, as well as reproduced on posters and in print media, to rally the population, define national identity, and reinvent distant and recent history. Artists, political-party propagandists, and government administrators believed that images on the street, in print, and in exhibitions would create a community of viewers, brought together during the staging of public exhibitions to understand their own roles as Spaniards. This book draws on extensive archival research, brings to light unpublished documents, and examines visual propaganda, exhibitions, and texts unavailable in English. It engages with questions of national self-definition and historical memory at their intersections with the fine arts, visual culture, exhibition history, tourism, and propaganda during the Spanish Civil War and immediate post-war period, as well as contemporary responses to the contested legacy of the Spanish Civil War. It will be of interest to scholars in art history, visual and cultural history, history, and museum studies.

A much-needed publication celebrating the endless creativity of Anni Albers, one of the most influential artists of the twentieth century. Anni Albers (1899-1994) was a textile designer, weaver, writer and printmaker, who was among the leading pioneers of twentieth-century modernism. Throughout her fruitful career she inspired a reconsideration of fabrics, both in their functional roles and as wall hangings, truly establishing thread and weaving as a valid medium for art. In her later years, Albers took up print-making, translating many of her persistent themes and ideas into two-dimensional form. But while Albers has been extremely influential for younger generations of artists and designers, her contribution to modernist art history has, until now, been rather overlooked. This publication presents Albers's most important works in a new light, to fully explore and redefine her contribution to twentieth-century art and design, and highlight her significance as an artist in her own right, rather than alongside her husband Josef. Illuminating Albers's technical skill, her material awareness and acute understanding of art and design, this much-needed publication is a celebration of one of the most influential artists of the twentieth century, and her endless creativity.